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swiedemann · 10 months

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Oculto [La vergüenza de ser humano] Hidden [The shame of being human]

Audiovisual composition: Sebastian Wiedemann Music: Aidan Baker & Gareth Davis

8min Super8 to FullHD/Color/stereo

Country of production: Colombia/Peru Film commissioned by MUTA Festival internacional de apropiación audiovisual CC BY-NC-SA 2021-2023

Sinopsis: Los cuerpos celestes algo enuncian en medio a su misterio. La luna se hace roja, el planeta llora, la caída es más profunda de lo que podríamos imaginar. Oculto, algo al asecho. En el medio, un réquiem o quizás una elegía. Lo incierto como camino que nos lleva a una catástrofe que no sabemos si es pasada, presente o futura. Pero que sin duda es memoria profunda de un oscuro secreto. Los susurros rotos de una selva herida.

Synopsis: The celestial bodies enunciate something in the midst of their mystery. The moon turns red, the planet cries, the fall is deeper than we could imagine. Hidden, something lurks. In the middle, a requiem or perhaps an elegy. The uncertain as a path that leads us to a catastrophe that we do not know if it is past, present or future. But which is undoubtedly a deep memory of a dark secret. The broken whispers of a wounded jungle.

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Critics:

"En Oculto Sebastian Wiedemann articula la catástrofe del mundo en la forma de una jungla herida. (...)Así, las imágenes que Wiedemann remonta, se desprenden de las intenciones “documentales” de sus creadores, para abrazar una nueva significación, relacionada con una crítica estético-política del Antropoceno y la catástrofe ambiental que azota al mundo. De ahí la urgencia de escuchar los susurros de la selva herida. " Mariana Martínez Bonilla (Octubre 2023)

"A shamanic audiovisual trance, which expressed nature’s suffering with great evocation. The work offered a direct criticism of environmental destruction caused by imperialist exploitation, effectively communicated by transforming archive footage manipulating the strips of film, accompanied by radical sound experimentation. An agitational piece, following in the footsteps of the great Santiago Álvarez and more recently the Mexican collective Los Ingrávidos. The resulting product challenges the audience to engage with the political context, through a metamorphosis of sound and visual montage. An astounding accomplishment of experimental cinema!" Elena (December 2023) _________________________________

Proyecciones/Screenings: Festival version

2024 Festival Internacional de la Imagen [Muestra Cine (y) Digital], Colombia

2024 Alchemy Film and Moving Image Festival, UK

2024 Fisura - International Festival of Experimental Film and Video, Mexico

2024 Land Symposium - University of the Arts London - Central Saint Martins, UK

2023 MASTER.LAV - "Devoraciones Cinematograficas. El cine de Sebastian Wiedemann", Spain

2023 Bogoshorts - Festival De Cortos De Bogotá, Colombia [Panorama Colombiano Experimental]

2023 Deluge Contemporary Art Gallery - “Territorial Imperative”, Canada

2023 Antimatter [Media Art] Film Festival, Canada

2023 Museo La Tertulia - Casa Obeso Mejia, Colombia

2023 FICCALI - Festival Internacional de Cine de Cali, Colombia [Competencia Nacional de Cortometrajes]

2023 MIDBO - Muestra Internacional Documental De Bogotá, Colombia [Competencia Nacional de Cortometrajes]

2023 MAMUT - Festival de Memoria Audiovisual, Colombia

2023 ULTRAcinema, Mexico

2023 Centro de Cultura Digital, Mexico

2023 SACIMU - Salón de Cines Múltiples, Mexico

2023 Strangloscope – Experimental International Festival, Brasil

2023 DOBRA - Festival Internacional de Cinema Experimental, Brasil

Work-in-progress version

2023 Amsterdam School for Cultural Analysis - University of Amsterdam, Netherlands

2022 ITESO - Universidad Jesuita de Guadalajara, México

2022 Microcine La Cueva - LEC Laboratorio Experimental de Cine, México

2022 Universidad Nacional Autónoma de México, México

2021 10º Raias Poéticas: Afluentes Ibero-Afro-Americanos de Arte e Pensamento, Portugal

2021 CINETORO Experimental Film Festival, Colombia

2021 14º Premio Nacional de Creación Audiovisual - Universidad de Antioquia, Colombia

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Publications:

2021 O pensamento imaginante das árvores

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swiedemann · 1 year

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Deep Blue [Springs and Apneas between Worlds] Audiovisual composition: Sebastian Wiedemann Sound: Michael Gordon 7min45 FullHD/Color/stereo Country of production: Colombia, nowhere-during-lockdown CC BY-NC-SA 2020 Springs and Apneas between Worlds to resist and re-exist the pandemic. The power of the womb of the world. Faced with thousands of bodies that cannot breathe and die from Covid-19, this work reflects on the force of apnea as a way to access primal states of life. If Covid-19 is a consequence of anthropic actions, this work is proposed to be a gesture of resistance by appealing to a connection with the cosmos and the sources of life. _________________________________ Apneas y nacientes entre mundo para re-existir a la pandemia. O de la potencia del útero del mundo. _________________________________ Critics: “A calming, meditative, underwater cine-dream of our umbilical connection to the Universe…” Nikola Gocić (June 2021) “Wiedemann elabora una atractiva matriz que tiene como origen y destino el mar. El agua vista desde un prisma, a veces pretendidamente cósmico, otras científico, que da vida (audiovisual) a su tesis dentro de un marco sonoro impresionante. Desde sus planos estrictamente calculados hasta el equilibrio simétrico de algunas imágenes que danzan entre medusas, performers e impresiones macro y microscópicas, la «tonalidad afectiva» se une al «pragmatismo especulativo». La filosofía de la diferencia de Deleuze y Guattari adherida a una estética de alta definición y una obvia conexión «pre-individual».” Borja Castillejo Calvo (Julio 2021)

“Astronautas / nadadores em potencial, poderemos sempre ser aquele que se compreende como parte de um elo maior e rompe com a cadeia (auto)destrutiva. Tivesse sido feito em outro momento, a obra de Sebastian Wiedemann já seria um belo exercício visual de pertencimento universal. Nesse momento, “Azul Profundo” é convite para olhar o outro que habita outros seres (e a nós mesmos) com mais afeto.“ Roberta Mathias (Julho 2021)

“Other worlds, underworlds, and undersea states are evoked in Sebastian Wiedemann’s Deep Blue, made during lockdown in Colombia in 2020. Wiedemann sees the pandemic as a Gaian provocation to look within, to the involutions or folds of matter that unite us all, from microbes to stars, from Homo sapiens to Medusozoa (jellyfish). Wiedemann calls for cinematic immersion, to make the “invisible visible”.(20) Pandemic suffocation and apnea-like pauses promise a future in which we come together to breathe-with, or conspire with, the planet, including our undersea kin, our oldest ancestors.” Tessa Laird (April 2022)

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Awards:

2021 Mención Especial del Jurado del CineToro Experimental Film Festival (Colombia) “Por la belleza de las imágenes que nos sumergen en universos imposibles de habitar” (Texto del jurado)

2021 Mención de Honor del Jurado del Bogotá Experimental Film Festival (Colombia) “Por tratarse de un audiovisual que potencia, ante todo, el goce estético. Por estar construido con una elegancia visual y sonora en función de la coherencia conceptual del relato.” (Texto del jurado)

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Screenings:

2024 Zumzeig Cinecooperativa - Ciclo de Cine Experimental latinoamericano, Spain

2023 MASTER.LAV - "Devoraciones Cinematograficas. El cine de Sebastian Wiedemann", Spain

2023 SACIMU - Salón de Cines Múltiples, Mexico

2023 Universidad Autónoma Metropolitana - Unidad Xochimilco, Mexico

2023 V-F-X Ljubljana - Festival of Experimental AV Practices, Slovenia

2023 Chalot Teatro Bogotá, Colombia

2023 CineDesign Film Festival, Italy

2023 Festival Cine de Verano, Uruguay

2022 Museo Palacio Vergara, Chile

2022 TIMELINE:BH#7 Festival Internacional de Videoarte I Belo Horizonte, Brazil

2022 Cinemateca Museo La Tertulia, Colombia

2022 La Sur Real Film Festival, Germany

2022 Ibrida Festival, Italy

2022 Microcine La Cueva - LEC Laboratorio Experimental de Cine, Mexico

2022 Experimental Pan-cinema - Curitiba International Festival, Brazil

2022 Video Art Miden - Art Gallery Casa Bianca, Greece

2022 Gertrude Contemporary Gallery, Australia

2022 Mientras Tanto CINE - Temporada IV, Uruguay

2022 Persian Experimental Short Film Festival, Iran

2022 Bogotrax Festival, Colombia

2021 FIVA - Festival Internacional de Videoarte, Argentina

2021 Film Fest Kodama, UK

2021 CINETORO Experimental Film Festival, Colombia

2021 Istanbul International Experimental Film Festival, Turkey

2021 Cámara Lúcida - Festival Internacional de Cine Contemporáneo, Ecuador

2021 Muestra Intermediaciones de Videoarte y Cine Experimental, Colombia

2021 ULTRAcinema Film Festival, Mexico

2021 FestiFreak Film Festival, Argentina

2021 Athens Digital Arts Festival, Greece

2021 MUTA V Festival Internacional de Apropiación Audiovisual, Peru

2021 Dobra Festival de Cine Experimental, Brazil

2021 Bogotá Experimental Film Festival / CineAutopsia, Colombia

2021 Festival ECRÃ, Brazil

2021 Casoria Contemporary Art Museum, Italy

2021 Magmart | International Videoart Festival, Italy

2021 Centre of Visual Arts (CoVA) at the University of Melbourne, Australia

2021 Strangloscope Film Festival, Brazil [avant-première]

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Publications: 2023 (c)ovid's metamorphoses [Bernd Herzogenrath] 2023 Una naturaleza (in)diferente: la vida común en la práctica artística de Sebastián Wiedemann [ Pedro E. Moscoso-Flores & Antonia Viu] 2021 Deep Blue: A Cinematic In-Between-Living’s Memories of Future 2021 Alienocene - Journal of the First Outernational

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swiedemann · 1 year

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Obatala Film Audiovisual composition: Sebastian Wiedemann

7min S8mm/B&W/stereo Countries of production: Nigeria, Brazil and Colombia 2019

The body re-exists and insists. It is never a closed envelope, but a channel of passage and trance among the most diverse spiritual dimensions (Obatala Film). Film-devotion, film-offering, film-gift. Shot in the mythical Ile-Ife, the sacred city of the Yoruba people and founded by the Orisas, this film seeks to sensory affirm the vertigo of coming into contact with Obatala, orisa creator of the world, of light. Trance of sparks of light, of bodies in spiritual connection.

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O corpo re-existe e insiste, pois nunca é um envoltório fechado, mas sim canal de passagem e transe entre as mais diversas dimensões espirituais (Obatala Film). Filme-devoção, filme-oferenda. Filmado na mítica Ile-Ife, cidade sagrada do povo Yoruba e fundada pelos próprios Orixás, este filme procura afirmar de modo sensorial a vertigem de entrar em relação com Obatala, orixá criador do mundo, da luz. Transe de faíscas de luz, de corpos em conexão espiritual.

_________________________________ ARTIST Q&As (May 2020)

Alchemy Film and Moving Image Festival asks…

Could you give some more context to how you came to make a film in response to Obatala, the Yoruba religion?

Like in the best moments and experiences of life, they just happen. On that occasion, I was lucky I had with me my sound recorder and Super8 camera. So I can’t say this film was a calculated, planned response to the Yoruba culture and religion. More than that it was a kind of continuation of what I like to call ‘cinematic modes of experience’. I understand the world as a cosmic cinematograph where we live experiences through and as images. And this movement where we are an image among others can happen without a camera, without filmmaking. But through filmmaking, this experience could be intensified or could continue by other means. I had no intention to make a portrait of a Yoruba ritual or practice but to make continue a vital rhythm as a spiritual force through other surfaces and bodies, like film. Something that I can say because of my link with the Orishas. I already have intimacy with these deities, with the ashe – vital force – of them.

Your film is an account of light, rhythm, movement. It is quite abstract in this sense, but it is also very culturally specific.

Here we are dealing with the unseen, the spectral, the spiritual. Forces that don’t respond to representation or even figuration. Forces that put our perception into a state of delirium, trance, and vertigo. Forces that pass through images as brushstrokes of intensity, as percussive vibrations and light sparks. The visual dimension of the image is just the start point, not the arrival point. Following the ashe – vital force – present in the world and rituals is a question of understanding how it escapes from perception. That’s why abstraction emerges in the film. The film isn’t a place where the experience stops or parks, just a surface where experience passes. The film is a cinematic mode of experience among others. A mode that has a devotion dimension, and as an offering gesture doesn’t stay in the material plane but continues. The film is born from a rhythmic intuition as vital vibration, that raises before time and continues through light, water, a temple, priests, rituals, drums, dances, sounds, film – and that now wants to continue through the body of the audience in quarantine affecting the spirit of many with the force of Obatala, the Orisha of creation and creativity. Once he created humans, and now perhaps with his force, we can reinvent humankind in a time of coronavirus.

https://alchemyfilmandarts.org.uk/festival-2020-the-index-impulse/

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Reseña en Desistfilm por José Sarmiento Hinojosa (Septiembre 2020)

“Wiedemann es testigo de esta manifestación cósmica en éxtasis, e incorpora el elemento de la imagen en movimiento para conformar una unidad con esta celebración al dios Obatala. […] Wiedemann dice: “Entiendo mi práctica cinematográfica como una indagación sobre modos de experiencia y como un gesto de canalización. Uno de ellos podría ser el estado de devoción y posesión de fuerzas espirituales y cósmicas”. Obatala Film, en su granulada textura, es la resilencia de lo que se resiste a ser vestigio, a simplemente desaparecer, la práctica del rito identitario, sellada en la carne ante el manejo casero del celuloide y ante la posesión espiritual comunitaria. Obra fundamental.”

https://desistfilm.com/frontera-sur-2020-obatala-film-de-sebastian-wiedemann/

Critica em CineFestivais por Gabriel Araújo (Novembro 2020)

“Ciente, portanto, da impossibilidade dessa representação, o que se apresenta nesses quase 7 minutos de experimento são fotogramas em movimento que se fazem complementares numa montagem responsável por aproximar regiões distantes – Osun, na Nigéria, Minas Gerais e Colômbia – e fabricar realidades e mundos para além daqueles associados ao plano físico.“

https://cinefestivais.com.br/obatala-film-de-sebastian-wiedemann/

Comentario curadora Tatiana Carvalho Costa na 1a Mostra Embaúba Play (Maio 2021)

“ A vibração dos tambores e a textura das imagens em Super-8 nos transportam pelas espirais do tempo da existência afrodiaspórica num filme que compartilha a energia de um ritual e de uma ancestralidade transatlântica.”

https://embaubaplay.com/catalogo/obatala/

Critica em Apostila de Cinema por Roberta Mathias (Maio 2021)

“ Somos jogados para dentro do curta sem nos darmos conta e somente em seu minuto final “Obatalá” revela outro tipo de conexão. A edição é essencial para essa sensação, não por acaso saiu com o prêmio de melhor edição do Forumdoc.BH de 2020. Quem tem qualquer experiência com as manifestações das religiões afro, sabe que a sensação temporal é um de seus mistérios. Wiedemann consegue absorver bem isso e entregar uma bela homenagem à Obatalá.”

https://apostiladecinema.com.br/obatala/

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Entrevista (Septiembre 2020)

Frontera-Sur, Festival Internacional de Cine de No Ficción (Chile) https://youtu.be/y4rdAev7kjk

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Awards:

2020 Prize for the Best Editing - Forumdoc.BH, Brazil Jury statement: For making the film a material ritual of skins, films, visual and sound rhythms, producing a trance atmosphere through the precise editing work, we chose Obatala Film by Sebastian Wiedemann. Declaração do júri: Por fazer do filme um ritual material de peles, películas, ritmos visuais e sonoros, produzindo uma atmosfera de transe através do preciso trabalho de montagem, escolhemos Obatala Film de Sebastian Wiedemann.

2020 Prize of the Jury Mostra do Filme Livre, Brazil

2019 Prize of the Jury SuperFilme Internacional - SuperOff Film Festival, Brazil Jury statement: It is like feeling the cosmology of Ifá in images, textures, sounds, noises and voices … with the melody of the projector and the nature of the film. Declaração do júri: É como sentir a cosmologia de Ifá em imagens, texturas, sons, ruídos e vozes…com a melodia do projetor e a natureza da película.

2019 Prize of the Jury for the Best Film of the Festival - Curta 8 - Festival Internacional de Cinema Super 8 de Curitiba, Brazil

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Screenings:

2024 Land Symposium - University of the Arts London - Central Saint Martins, UK

2023 MASTER.LAV - "Devoraciones Cinematograficas. El cine de Sebastian Wiedemann", Spain

2023 SACIMU - Salón de Cines Múltiples, Mexico

2023 The Black Archives - Blacker Blackness program/Afrospirituality in the everyday, Netherlands

2022 FICDesierto, Mexico

2022 Museo Palacio Vergara, Chile

2022 Unseen Festival - Croatia

2022 Microcine La Cueva - LEC Laboratorio Experimental de Cine, Mexico

2022 Courtisane Film Festival, Belgium

2022 Inflamável - Festival de Curtas em Super 8, Brazil

2022 Cine Angola - CineClube Comunitario, Brazil

2022 Monangambee Microcinema, Nigeria

2021 Festival Internacional CineMigrante, Argentina

2021 Festival Satyricine Bijou, Brazil

2021 AricaDoc Festival, Chile

2021 Obskura Analog Film Festival, France

2021 1a Mostra Independente Cine Cuesta, Brazil

2021 1a Mostra Embaúba Play, Brazil

2021 FLUXO-FIXO - Festival de Cinema, Brazil

2021 Mostra Cine Direitos Humanos Olho no Olho, Brazil

2021 Semana de Cinema Negro de Belo Horizonte, Brazil

2021 Punto de Vista Film Festival, Spain [Official Selection/Competition]

2020 Postal - Mostra de Cinema, Brazil

2020 CachoeiraDoc Festival, Brazil

2020 Semana de Cinema/SemanaSemana, Brazil

2020 Circulo de Bellas Artes de Madrid, Spain

2020 Forumdoc.bh.2020, Brazil

2020 Belo Horizonte International Short Film Festival, Brazil [Brazil film competition]

2020 Videoex Festival, Switzerland [International Competition]

2020 8ème Panorama du Cinéma Colombien, France [Short film competition]

2020 Lima Alterna International Film Festival, Peru [Opening film]

2020 Mostra do Filme Livre, Brazil

2020 Encontro de Cinema Negro Zózimo Bulbul, Brazil

2020 EXiS Film Festival, South Korea [EX-NOW_International Competition]

2020 CineAutopsia Bogotá Experimental Film Festival, Colombia

2020 Alchemy Film and Moving Image Festival, UK

2020 CCCB - Centre de Cultura Contemporània de Barcelona, Spain

2020 Experiments in Cinema, USA

2019 Luminous Void Experimental Film Festival, Ireland

2019 Kinoskop Analog Film Fest, Serbia

2019 The Unforeseen - International Experimental Film Festival, Serbia

2019 Frontera Sur Film Festival, Chile

2019 Cámara Lúcida - Encuentros Cinematográficos, Ecuador

2019 Curta 8 - Festival Internacional de Cinema Super 8 de Curitiba, Brazil [International Competition]

2019 MIDBO Muestra Internacional Documental De Bogotá, Colombia

2019 Ji.hlava International Documentary Film Festival, Czech Republic [International Competition]

2019 MAR Museo de Arte Contemporáneo Buenos Aires, Argentina

2019 Equinoxio Film Festival, Colombia

2019 DOBRA - Festival Int'l de Cinema Experimental, Brazil

2019 Mostra Strangloscope, Brazil

2019 Espaço Cultural Casa do Lago, Unicamp - Brazil

2019 AHORA Festival de Arte Activista Latinoamericana, Uruguay

2019 SuperOff Film Festival, Brazil [International Competition]

2019 Lab Mundo Pensante - São Paulo, Brazil [avant-première]

Listed at filmlabs.org

Live Streaming:

2020 Facebook Live - Cámara Lúcida - Encuentros Cinematográficos, Ecuador Lectura abierta del texto “Re-uniéndose con la vida bajo el signo de Obaluaye: Algunas notas sobre ‘Obatala Film’ como modo de experiencia cinematográfico en tiempos de coronavirus” y presentación del film, seguido de conversatorio con mediación de Francisco Álvarez sobre la relación entre cine y pandemia.

https://www.ecamaralucida.com/post/obatala-film-lectura-abierta

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Publications:

2020. Re-joining With Life Under the Sign of Obaluaye: Some Notes on “Obatala Film” as a Cinematic Mode of Experience in Times of Coronavirus.

2020. Re-unindo-se com a vida sob o signo de Obaluaiê: Algumas notas sobre “Obatalá Film” como modo de experiência cinematográfico em tempos de coronavírus.

2020. Re-uniéndose con la vida bajo el signo de Obaluaye: Algunas notas sobre “Obatala Film” como modo de experiencia cinematográfico en tiempos de coronavirus.

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swiedemann · 6 years

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Cintilações [Scintillations]

obra se diz d’obra que se desdobra ORL VAN ANDI

Composição audiovisual: Audiovisual composition: Sebastian Wiedemann

Ideia, Conceito e Imagem: Idea, Concept and Image: Susana Dias & Sebastian Wiedemann

Música: Music: Difondo – Sampler and Zither: Gong Giampaolo Campus – Molteplicità Martin Rach – Rolling

Orssarara Collective CC BY-NC-SA 2018

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Um sentimento de que a vida é pura modulação de luz. Não há vida de um lado e cinema do outro. Apenas uma vida cinematográfica. Então perceber que os sentimentos e afetos que se tem por alguém, inevitavelmente, implicam uma espessura cinematográfica. Cinema abrindo uma dimensão mais do que humana nas relações humanas. Cinema nos ajudando a lembrar que nunca se tratou de você e de mim, e sim do que se passa entre nós. Por vezes temos que dar expressão a um sentimento de gratidão. Talvez “Cintilações” não seja mais do que isso, uma dadiva de gratidão, que no cinema e através das imagens atinge uma dimensão impessoal. Um filme dedicado a um amigo, uma gratidão que devem cósmica. "Cintilações", um filme muito pequeno, um gesto despretensioso, onde talvez possamos aprender com um velho amigo que não somos mais do que as faíscas entre uma modulação de luz e outra. Uma coisa é certa. Ele é um summum de cintilações. Longa vida para o querido Luiz Orlandi! ___________________

Projeções/Screenings:

2022 Facultad de Educación - UPB Universidad Pontificia Bolivariana, Colombia

2020 III Colóquio "Metodologias de Pesquisa em Artes" - Unesp, Brasil

2020 I Ciclo de conversas entre arte e educação Carta-Imagem - UEFS Universidade Estadual de Feira de Santana, Brasil

2019 Curso de Pedagogia - UFT Universidade Federal do Tocantins, Brasil

2019 'Artes do Corpo, Corpos da Arte' 14 Congresso Internacional de Estética Brasil, UFOP, Brasil

2019 Espaço Cultural Casa do Lago, Unicamp - Brasil

2019 Estágio Intensivo Master Europhilosophie/UNILAB: Seminário Filosofias no Sul Global e 2º Encontro de Geofilosofia. Unilab - Brasil

2019 Atelier Paulista, São Paulo - Brasil

2019 Lab Mundo Pensante, São Paulo - Brasil

2019 Do caos aos cais e vice-versa. Faculdade de Educação, Unicamp - Brasil

2018 IFCH - Instituto de Filosofia e Ciência Humanas, Unicamp - Brasil

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Publications:

2018. Cintilações: elogio ao alegrar

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swiedemann · 6 years

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XAPIRIMUU [agir em espírito] [to act as a spirit]

Sonhar a terra entre nuvens para que o céu não caia. Dream the earth among clouds so that the sky does not fall.

Composição audiovisual: Audiovisual composition: Sebastian Wiedemann

Ideia, Conceito e Imagem: Idea, Concept and Image: Susana Dias & Sebastian Wiedemann

Música: Music: Terry Riley – Poppy Nogood

Este filme faz parte do projeto “Arquivo Nuvens” concebido pelo Orssarara Ateliê e o Grupo multiTÃO - Labjor - Unicamp. This film is part of the project "Cloud Archive" conceived by Orssarara Atelier and the multiTÃO Group - Labjor - Unicamp.

Orssarara Collective CC BY-NC-SA 2016

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Projeções/Screenings:

2023 MASTER.LAV - “Devoraciones Cinematograficas. El cine de Sebastian Wiedemann”, Spain

2023 SACIMU - Salón de Cines Múltiples, Mexico

2023 Amsterdam School for Cultural Analysis - University of Amsterdam, Netherlands

2022 Museo Palacio Vergara, Chile

2022 ITESO - Universidad Jesuita de Guadalajara, Mexico

2019 Luminous Void Experimental Film Festival, Ireland

2019 Espaço Cultural Casa do Lago, Unicamp - Brasil

2018 IV Dobra - Festival Internacional de Cine Experimental, Brasil

2018 S4Sydney Art+Science Short-Film Showcase, MAAS/Powerhouse Museum: Kings Cinema - Australia

2018 Encuentros Cinematográficos Cámara Lúcida, Ecuador

2017 KCE - Knowledge/Culture/Ecologies Film Screening - Chile

2017 10ª Mostra Strangloscope de Cinema Experimental - Brasil

2017 11ª Mostra Curta Audiovisual de Campinas - Brasil

2017 CineAutopsia | Bogotá Experimental Film Festival, Colombia

2016 Revista ClimaCom: Dossiê Incerteza - Brasil

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Publications:

2019. Xapirimuu: Notes on the instauration of some cinematic modes of existence

#xapirimuu #yanomami #cosmopolitics of the image

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swiedemann · 6 years

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vidas-vestem-ruídos Carta-ensaio de Flávia Naves & Sebastian Wiedemann Duas vozes em dois tempos: uma performer envia uma carta pelo correio para um cineasta, que só pode lhe responder entre imagens e sons.

Este filme foi comissionado pelo Festival Atos de Fala 2016 - Rio de Janeiro, Brasil.

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Projeções:

2024 PACTO - Grupo de Pesquisa Produção de Subjetividade, Arte, Corpo e Terapia Ocupacional, USP, Brasil

2023 MASTER.LAV - “Devoraciones Cinematograficas. El cine de Sebastian Wiedemann”, Spain

2020 Mostra Latino-Americana de Curtas - Memorial da América Latina, Brasil

2019 'Artes do Corpo, Corpos da Arte' 14 Congresso Internacional de Estética Brasil, UFOP, Brasil

2019 Espaço Cultural Casa do Lago, Unicamp - Brasil

2019 Lab Mundo Pensante - São Paulo, Brasil

2016 3° Mostra Hífen de Pesquisa-Cena - Rio de Janeiro, Brasil

2016 Oi Futuro Ipanema - Rio de Janeiro, Brasil

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Publicações:

2017. Revista Ensaia - revista de dramaturgia, performance e escritas múltiplas

#cutout animation #rio de janeiro

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swiedemann · 6 years

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LOS (DE)PENDINETES Audiovisual composition: Sebastian Wiedemann Idea and concept: Sebastian Wiedemann and Adrian Cangi Production supervision: Lucrecia Piattelli

24min FullHD/B&W/stereo Countries of production: Argentina and Colombia Film commissioned by "University of Avellaneda" (Buenos Aires-Argentina) 2015-2016

There are a people to come. Open the images and make it appear!

"Sampling Argentinian critical and revolutionary films from 1956 to 2006, Los (De)pendientes offers a great step in the conception of film history. Without any words, considering the past, it tells what visual works were faithful to the real issues of their times; considering the present, it shows in which poor condition are these crucial images of life and struggle; considering the becoming, it indicates what remains to be done to reconstruct a fairest and truest history of cinema; considering eternity, it is an auratic poem of bold shadows." NICOLE BRENEZ

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Los (De)pendientes.

The name of the film is a wordplay, "the dependents /the pending people" . "El dependiente" (1969) is the title of a film by Argentine director Leonardo Favio. The story of a mediocre employee, that is awaiting the death of his boss and whose life's sense depends on the others. A poor life without any ethics or affirmative actions. (Some footage of this movie, the only fictional ones in the montage, appears in the last third of the film). The hypothesis of the film is this that the twentieth century left people in a state of childhood depending on the state. Therefore, there is a pending people, a people to come, which can only appear in/through the trance. This is the reason why the film ends with a dance trance. An effort to take the images of the Argentine political cinema to a state of catastrophe, where vital forces and flows appear in the interstices. Trying to liberate images from moral, trying to make appear a new image of people. It means, looking for a new image of thought for the people in the images of the Argentine documentary. It is certainly a very strong dialogue with the ideas of Glauber Rocha. And in this sense, the film is made only by recycled images. Recycling images as the possibility of a second life or rebirth of people in the cinematic regime. Both, image and sound montage try to pervert and conjure what is expected of this kind of image, where content usually captures the expressive plasticity.

This project is a collaboration with the "University of Avellaneda" (Buenos Aires-Argentina) and the theoretical hypothesis of the film was conceived together with the philosopher Adrian Cangi and in a certain way, the film is the thought in act with images and sounds of the question on a people to come.

Perhaps what is more curious and interesting of this project is that the university commissioned me the film because I'm not Argentinian (I'm from Colombia), so I don't have an empathy or a moral relation with the images. For me, they are only plastic matter. It means I do not identify representations of any kind in the images, just bodies as sparks of life in the matter of expression. One more detail, in the film are evoked more than 20 films (Solanas, Birri, Gleyzer…but many others also).

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Awards: 2017 Special Prize of the Jury - III FRONTEIRA Film Festival, Brazil 2015 Best of 2015 ARTFORUM Magazine

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Screenings:

2023 MASTER.LAV - “Devoraciones Cinematograficas. El cine de Sebastian Wiedemann”, Spain

2022 Microcine La Cueva - LEC Laboratorio Experimental de Cine, Mexico

2020 CCCB - Centre de Cultura Contemporània de Barcelona, Spain

2020 Movimcat / The Moving Image Catalog

2019 Luminous Void Experimental Film Festival, Ireland

2019 MAR Museo de Arte Contemporáneo Buenos Aires, Argentina

2019 Equinoxio Film Festival, Colombia

2019 Espaço Cultural Casa do Lago, Unicamp - Brasil

2019 AHORA Festival de Arte Activista Latinoamericana, Uruguay

2019 Kampus Hybernska Art Gallery - Prague, Czech Republic

2019 Lab Mundo Pensante - São Paulo, Brazil

2019 Pix Film Gallery, Canada

2018 Alternative Film/Video Festival, Serbia

2018 Viennale - Vienna International Film Festival, Austria

2018 Encuentros Cinematográficos Cámara Lúcida, Ecuador

2018 La Générale Cultural Center, France

2017 ForumDoc.BH, Brazil

2017 Belo Horizonte International Shortfilm Festival, Brazil [International Competition]

2017 Festival for Different and Experimental Cinema, France [Competitive section]

2017 Festival Images Contre Nature, France

2017 CachoeiraDoc Festival, Brazil

2017 EXiS Film Festival, South Korea [EX-Now International Competition]

2017 (S8) 8 Mostra de Cinema Periférico, Spain

2017 CineAutopsia | Bogotá Experimental Film Festival, Colombia

2017 Rencontres Internationales Paris/Berlin, France

2017 III FRONTEIRA Festival Internacional do Filme Documentário e Experimental, Brazil [ International Competition ]

2016 Jornadas de Reapropiación - Mexico [ Fiebre de archivo Official Selection ]

2016 CineMigrante Festival - Argentina

2016 Festifreak - Argentina [ Argentine Short Films Competition ]

2016 II Dobra - Festival Internacional de Cine Experimental, Brasil

2016 Pasajes de Cine - Museo Centro de Artes de Vanguardia La Neomudéjar, Madrid, España

2016 Galeria Maus Hábitos - Espaço de Intervenção Cultural, Porto, Portugal

2016 Cinemateca - Museu de Arte Moderna Rio de Janeiro, Brasil

2016 Filmadrid - Spain [ World Premiere. Avant-garde competition ]

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Publications:

2017. Los (De)pendientes : ¿Qué pueblo?, ¿Qué porvenir?

#found footage #experimental cinema #experimental film

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swiedemann · 6 years

Video

vimeo

ONDAS

Getting into the waves, follow its rhythm until losing shapes.

Vem…vem… me arrebenta!

som: Henrique Rocha

35mm to HD 9min40 Cor/Estéreo 2015

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Review by Nikola Gocić: “One of his latest works – a Brazilian-Colombian co-production, Waves (originally, Ondas) – shows us that water plus color do not necessarily equal watercolor and that sometimes, the viewer turns into the “viewee”. This less-than-ten-minute dive into the sea of “blue” thoughts (where blue does not correspond with sadness, unless you had a really bad day) appears as a pulsating, Brakhage-esque erosion of the tape that wants to analyze you, instead of allowing you to analyze it. A spiritual successor to Wiedemann’s 2012 short Abismo, Waves could also be described as a film for all the people who watch the water, to rephrase the dedication from his 2016 marvel Xapirimuu. Entirely composed of abstract shapes foaming, floating, quivering and zigzagging before your eyes like an unknown substance under a microscope, it becomes a living, breathing and, of course, undulating organism brimming with pure energy.” https://movingimageartists.co.uk/2018/01/01/review-ondas-2015/

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Introducing Waves on Coronavirus times (April 2020): “Now more than ever I understand what I’m looking for through my cinematic practice. In times of coronavirus, when everyone is asking how to continue, I see in Waves a possible answer. After all, Waves tries to unfold the question of how to continue, how to make the waves continue by other means. The same question that now we are facing, how to continue our lives by other means. Like the waves, life always escapes, we can’t contain it, we can’t put it in quarantine. So in the process of doing the film, each frame is a way of escaping for the “photographic waves”. No intention of representation or apprehension of their forms, but just brushstrokes of their forces and intensities. The frame doesn’t capture but works as an escape gate. As the waves continue in an overlapping process, traces are drawn on the celluloid as a rhythmic proliferation of the spirit of the empirical waves. Beyond forms, the forces of colour also continue by other means the breaking of the waves, as the sonorities submerge our sensorium within them. We can’t stop the waves. We can’t stop life. And my desire by sharing this film with an audience in confinement is to provoke in their bodies the feeling that we can only open new ways of making life continue when we are not attached to forms. Waves is an experimentation with that intuition. They only continue and I as a medium for this proposal can make them continue, because of the un-forming and de-forming. Like life, waves are an unlimited modulation. And coronavirus rises to remind us that we must modulate our way of life by other means.“ https://movingimageartists.co.uk/2020/04/20/mia-screens-sebastian-wiedemann/

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Screenings:

2023 MASTER.LAV - “Devoraciones Cinematograficas. El cine de Sebastian Wiedemann”, Spain

2023 Universidad Autónoma Metropolitana - Unidad Xochimilco, Mexico

2022 Museo Palacio Vergara, Chile

2020 Moving Image Artists Screens, UK

2020 Moving Image Salon, UK

2019 Luminous Void Experimental Film Festival, Ireland

2019 Espaço Cultural Casa do Lago, Unicamp - Brasil

2018 La Générale Cultural Center, France

2017 MARFICI Festival Internacional de Cine Independiente de Mar del Plata, Argentina

2017 CineAutopsia | Bogotá Experimental Film Festival, Colombia

2017 EPA Cine - Festival Internacional de Cine Independiente de El Palomar, Argentina

2017 Experiments in Cinema v12.3, USA

2016 Fundação Cultural Badesc, Brasil

2016 Semana dos Realizadores, Brasil

2016 Ibrida*Pluri Festival, Montreal, Canada

2016 Pasajes de Cine - Museo Centro de Artes de Vanguardia La Neomudéjar, Madrid, España

2016 Galeria Maus Hábitos - Espaço de Intervenção Cultural, Porto, Portugal

2016 Museo de Arte Moderno Medellín, Colombia.

2016 Filmbase, Irlanda.

2015 Cinemateca - Museu de Arte Moderna Rio de Janeiro, Brasil.

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Publications:

2019. Olas: Un experimento en pensamiento-cine entre la catástrofe, el ritmo y la diferencia. Ritornelos y notas para una poética de la inmanencia.

2018. To Enter Through The Middle, To Enter Through The Procedures.

2015. Ondas: um experimento em pensamento-cinema ou das variações de uma máquina-marinha…

#waves #ondas #experimental cinema #experimental film #cameraless film #Handmade Cinema

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swiedemann · 10 years

Video

vimeo

ÊTRE CHAT

Passagens, devires, fazer dançar a imagem entre o Butoh e o mundo. Parfois, ce qu'il y a en moi, ce n'est pas moi. qui est-ce?

Realizado por

Sebastian Wiedemann + Juliette Yu-Ming + Gyohei Zaitsu

20min. HD 2014

Projeções:

2023 MASTER.LAV - “Devoraciones Cinematograficas. El cine de Sebastian Wiedemann”, Spain

2022 ITESO - Universidad Jesuita de Guadalajara, Mexico

2021 1st International Ecoperformance Festival - Brasil

2019 Luminous Void Experimental Film Festival, Irlanda

2019 Espaço Cultural Casa do Lago, Unicamp - Brasil

2016 Filmbase, Irlanda.

2016 Museo La Neomudéjar, Espanha

2016 Museo de Arte Moderno Medellín, Colombia.

2015 CinePobre - Mexico

2015 28 Festival Instants Vidéo Numériques et poétiques - France

2015 Bogotá Experimental Film Festival | CineAutopsia - Colombia

2015 CineJoia. Rio de Janeiro - Brasil

2015 Cine Cabeça #4. Rio de Janeiro - Brasil

2015 9 São Carlos Videodance Festival - Brasil

2015 Festival Ibrida pluri* | Espace Notre-Dame - Canada

2015 Mex-Parismental Film Festival - France

2015 Singapore Short Film Awards

2015 MFL - Mostra do Filme Livre - Brasil

2015 Labjor - Laboratorio de Estudos Avançados em Jornalismo - UNICAMP. Brasil

2014 Iº Colóquio Práticas estético-políticas na arte contemporânea - UFF. Brasil [ pré-estreia ]

#butoh #experimental cinema #gyohei zaitsu

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swiedemann · 11 years

Video

vimeo

STURM IM FENSTER

HD + 35mm film 2013

Proyecciones:

2023 MASTER.LAV - “Devoraciones Cinematograficas. El cine de Sebastian Wiedemann”, Spain

2019 Espaço Cultural Casa do Lago, Unicamp - Brasil

2019 Festival Traverse Vidéo, France

2016 Museo de Arte Moderno de Medellín - Colombia

2015 Festival do Minuto - Brasil

Publicaciones: 2021 Revista Pausa na Rede 3ed.

#Handmade Cinema #experimental cinema #cameraless film

0 notes

swiedemann · 12 years

Video

vimeo

ABISMO

Soltar dejarse caer en el abismo...

3Min35 35mm to HD

2012

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Statement for Octopus 22: Baroquetopus (Humanimal entanglements and tentacular spectaculars) Gertrude Contemporary Gallery, Australia Curated by Tessa Laird (May 2022) “I loved it when Tessa, said 'it really looks like cuttlefish skin, moving and changing faster than the speed of thought'. Somehow, when I was painting Abyss, I was thinking about a perception beyond representation, about a speed of thought as immediation rather than mediation. A perception beyond speech and immanent to the body, not only as an haptic gesture but also as a hand gesture. A hand dance, which traces are the testimony of a long-term intimacy and conviviality with the materiality of film. Day by day touching, painting, caressing the film not only with reminisces of Pollock, but of a Butoh dance gesture, where we don't dance in the place, but the place. The place, the interval of the encounter between hand and film. Handmade cinema. A cinema beyond eyes, beyond vision machines, because like a cuttlefish skin, the eyes become a vibrant skin as folds of the brain. An Abyss for eyes, a limit of dripping and dropping as a baroque gesture of unthought ways of unfolding perception, closer to the animal, to the cosmos. Abyss, molecular animals dancing cosmic-color flames.”

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Proyecciones

2023 MASTER.LAV - “Devoraciones Cinematograficas. El cine de Sebastian Wiedemann”, Spain

2023 SACIMU - Salón de Cines Múltiples, Mexico

2022 Gertrude Contemporary Gallery, Australia

2019 Luminous Void Experimental Film Festival, Ireland

2019 Equinoxio Film Festival, Colombia

2019 Espaço Cultural Casa do Lago, Unicamp - Brasil

2019 Cinema Apollo Pécs, Hungary

2017 Ism Ism Ism: Experimental Cinema in Latin America [Program: Camera-less: direct animation in Latin America] - Los Angeles Filmforum/REDCAT, USA

2017 The Moving Image Catalog

2016 Revista ClimaCom: Dossiê Incerteza -Brasil

2016 Montevideo Cine Experimental - Uruguay

2016 Museo de Arte Moderno Medellín, Colombia

2015 DOBRA - Festival Int’l de Cinema Experimental. Rio de Janeiro -Brasil

2015 Experimental Animation Zone Channel

2014 Cinema Experimentalis

2013 Cameraless Film Art Channel

2013 INTERVALO I by OpusMagazine. Buenos Aires - Argentina

2013 Flaming SATELLITE Screening Night. Berlin - Alemania

2012 Factotumfest Buenos Aires - Argentina

Premios:

2do Premio Factotumfest 2012

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Publications:

2020. The Handmade Cinema Project [Curatorship by Gregory Zinman]

2017. Ism Ism Ism: Experimental Cinema in Latin America [Curatorship by Antoni Pinent]

#handmade cinema #cameraless film #experimental cinema

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